Techniques of Interpretation III

Programme

Performing Arts - Actors Training

Level of Qualification|Semesters|ECTS

Bachelor | Semestral | 4

Year | Type of course unit | Language

3 |Mandatory |Português

Total of Working Hours | Duration of Contact (hours)

100 | 60

Code

ULP1977-7492

Recommended complementary curricular units

n/a

Mode of study

Face-to-face

Precedences

Não

Professional Internship

Não

Syllabus

1. Recapitulation of the potential of the technical and artistic device 2. Application of the various techniques to the cinematographic device 3. Practical exercises of different techniques of representation for the camera. 4. Analysis of the film segment. 5. Dramaturgy applied to the practice (representation of scenes). 6. Analysis and observation of the practice and the result of the practical exercises. 7. Practical development and exercises for exploring basic grammars of interpretation for film and TV. 8. Definition of typical situations in film and audiovisual representation and its dramatic exploration. 9. The relation of the interpretation with the scene and the filmic sequence (with exercise and image registration)

Objectives

The objective of this uc of a theoretical and practical nature is to apply, analyze and comment on the practice and knowledge about the different schools of representation that are decisive in the history of cinema. Through practical and systematic exercises, supported by texts extracted from original scripts and cinematic adaptations, students will be allowed to evaluate the effectiveness and the result of applying the representation techniques, whether observed in three dimensions or in two dimensions, through systematic recording of images.

Teaching methodologies and assessment

Knowledge of the importance and the mode of presence of the technical device associated with the work will be done using image recording equipment and basic equipment. Exemplary images, films, graphics and powerpoints, as well as exemplary movie images, will be projected for the perception of differences between cinematic genres and interpretation records. Students will essentially engage in basic and experimental practical exercises in behavior as actors and characters. These practical exercises of representation will have as basis of analysis the result of the registration of their image. Final exercise of production of a short experimental film where the narrative / staging binomial will be observed, with a useful duration of more than 15 minutes. Continuous evaluation. Practical and experimental exercises: 50%. Final exercise: 30% Assiduity and punctuality: 10%. Critical participation in class: 10%

References

BRESSON, Robert, Notes sur le Cinematographe, Paris, Folio, 1995
COMEY, Jeremiah, The Art of Film Acting, A Guide for Actor and Directors, Woburn: Focal Press, 2000.
NAREMORE, James, Acting in the Cinema, Berkeley: University of California Press, 1988.
PUDOVKIN, Vsevolod, Film Technique and Film Acting, London: Vision Press Limited, 1974 (1930).
RABIGER, Michael, Directing Film. Techniques and Aesthetics, Burlington: Focal Press, 2003.
SERNA, Assumpta, O Trabalho do Actor de Cinema, Edição Cine-Clube de Avanca, 2001.
WESTON, Judith, Directing Actors. Studio City: Michael Wiese Productions, 1999.